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THE UKRAINIAN MUSEUM “The museum as magnet is a phenomenon of our own times,” writes John Russell, chief art critic of the New York Times in an article in the October 16, 1983 issue. “There were always people who liked going to museums, but at no time previous to World War II was the museum what it is now —the accepted gauge of civic virility... Hardly have we checked into a new city then we feel the magnetic pull of the museum... The infatuation is world wide... A city that doesn’t have a big museum building, a spectacular collection, a thump ing great endowment fund has a case of collective castration.” The Ukrainian Museum in New York can be seen in the context of the “museum explosion” which Mr. Russell describes as a “universal phenomenon.” Another trend of our time is the revival of interest in ethnicity within the United States, substantiated by the efforts of many ethnic groups to preserve their heritage and assert their identity as part of the overall cultural mosaic of America. There is also a renewed interest in folk art in general. For example, New York Univer sity has recently instituted a master’s degree program in American Folk Art, which is becoming increasingly popular among the students. “Once discussed as the work of untu tored craftsmen, folk art has been growing in popularity among collectors at a staggering rate,” writes Roslyn Siegel in the January 12, 1984 issue of the New York Times. “Facing the escalating prices of modern paintings, many collectors have turned to folk art, bring ing with them sophistication and financial resources that have encouraged experts to view naive art more seriously.” The development of The Ukrainian Museum is a reflection of such current trends as the heightened public interest in museums, a revival of interest in ethnicity and a growing appreciation of folk art. We may consider ourselves fortunate that this time we were not the proverbial “late arrivals,” but are in the forefront of current developments. The Ukrainian Museum was founded in 1976 on the basis of the ethnographic collection which was started in 1920 by the Ukrainian National Women’s League of America. The professional museum community considers The Ukrainian Museum as one of the most dynamic and interesting institutions among the small museums of the Greater New York area. Visitors to the Museum come from throughout the United States as well as from abroad. The press, radio, and television inform the public about the Museum’s programs. Federal and State agencies as well as several private foundations support its activities, for which the Museum remains most appreciative. The reputation that the Museum enjoys in this country and abroad as well as the grants that it has received illustrate the general interest in and the positive appreciation of Ukrainian folk art by government agencies and visitors. The Museum’s folk art collection offers the Museum’s expanding public the opportunity to discover an original, little-known culture, as can be seen from a few comments selected from the visitor’s book. Among the entries one finds such comments as: “Never have I seen such variety in design. A wonderful, visual experience for people of all nationalities. Very heartwarming to see such beauty.” “Gorgeous — an inspiration to me. Fantastically beautiful and elegant. Preserve this art — don’t let it become obsolete.” “Beautiful! Continue to keep this creative and beautiful folk art alive and flourishing. I am proud of my heritage!” “This is my sixth visit to this wonderful place. I always bring someone new with me to show the beauty and fine works of the people of Ukraine.” “ Ihave traveled widely but this is certainly an original, aesthetically pleasing and stimu- 62 www.unwla.org
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